I’m in the business of recreating experience.

This includes an approach that translates imagined architectural concepts (improvisational drawings and paintings) into sculpture.

I’ve mostly balanced my studio time between painting and sculpture. It’s not a rigid divide. In fact it’s more about dissolving boundaries between them.

I also paint to show others how I see and I value how direct perceptual experience is conveyed. Mine is an abbreviated naturalism, “borrowed” from on-site studies of buildings, table tops, whatever intrigues me visually. It’s important for me to connect this balance, through naturalism, between direct observation and invention, to my imagined forms. 

My drawings are imagery concepts that transpose into paintings or sculptures. My paintings also double as concept tryouts for sculptures. They help me find my forms, but I’m as conscious of them as fields of color and light.

Much of my work relates to architecture and design. I first fell in love with Architecture when I realized I was looking at an idea that was first conceived on a two dimensional plane. As in architectural practice, these drawings and in-scale prototypes also serve as representations of larger works. 

At the time when Vasari spoke of the term “disegno” as the father of the three arts, it was possible for a painter, sculptor or architect to extend their practice to any other of the three fields. As drawing is essential to my envisioning process, this resonates for me today.